lunedì 31 agosto 2015

Review of Django Reinhardt In Solitaire Complete Recordings For Solo Guitar, Definitive Records, 2005

Fifteen songs, only fifteen tracks of solo guitar in the discography of the great Django Reinhardt. It's possible? Django has recorded a lot, especially if we think that he played in a time when the long-playing did not yet exist, and most of his music was first recorded on wax and then transferred on 78 records, with the few audio resources then present. Only the series of three cd boxes "Complete Season" has a total of 40 CDs! A huge stuff that can still embarrass many contemporary musicians, at a time when everyone is able to transform a room of the house in an efficient studio recording.
Yet for solo guitar Django has recorded very little, a handful of songs for less than an hour, taken from recordings made between 1937 and 1950. These recordings were made often to meet the needs of producers to strengthen a recording that was too short, or sometimes the desire to capture a particular moment of creativity Django maybe when he was warming himself preparing for the session. The thing that I enjoy listening to these songs, is that they were different from the jazz that he habitually played: from his playing only emerge in a variety of different influences, but also its Gypsy origins and Gypsy folklore present in Spain and France at the time and, perhaps, some inspiration came from some composition for classical guitar, listened to who knows where. Impossible to know. Certainly Django, in these improvisations, does not seem to be limited in any way, slowing down and speeding up at will, as he was free from the presence of a rhythm section. The times are quite limited and confined to the size of the 78s, with the exceptions of Nuages ​​and Belleville, about 7 minutes each, recorded in 1950 and which were to be used for the realization of a film dedicated to Django (it was the custom at the first they record the soundtrack and then filmed the artists who played in playback on their own recordings) in these Django let himself go, almost fun to play and reinvent his own songs. The rest, with the exception of Perfum and Echoes of Spain, are all songs titled "Improvisation". No names, simple articulated structures, sometimes repetitive but always with constant and new interactions and changes that make them more interesting. You might think that Django held a sort of diary of these improvisations, being themselves as numbered, but I do not think so. Django could not read music and had learned the rudiments of reading and writing only in old age thanks to Stephane Grappelli, who had helped him, and leaving very few written documents. Listening well, however, you realize how he created some sort of basic vocabulary and grammar of his playing, to play the guitar, to improvise, to create and recreate his own music. The notes accompanying the CD explain that Django was not very prone to recordings in solo, and perhaps he was right: listening I can almost secretly spy on him, to look over his shoulder trying to unravel his secrets, and this leaves me a bit puzzled. But his music is so beautiful ...

1. Improvisation No.1 
2. Perfum 
3. Improvisation No. 2 [Master] 
4. Improvisation No. 2 [Alternate Take] 
5. Echoes of Spain 
6. Naguine 
7. Improvisation No.3, Pt. 1 
8. Improvisation No.3, Pt. 2 
9. Improvisation No.6
10. Improvisation No. 7 (Aka No. 2)
11. Improvisation 47 (Improvisation No.5) 
12. Improvisation No.4 
13. Belleville
14. Nuages 
15. Two Improvised Guitar Choruses [*]

domenica 30 agosto 2015

Una Serata con Mr. Bream - An Evening with Mr. Bream on Radio Voce della Speranza

Download Podcast

2 settembre 2015: The Art of Julian Bream
Mercoledì sera 2 settembre andrà in onda la prima puntata del nuovo programma radio su Radio Voce della Speranza dedicato alla chitarra del grande Julian Bream: ascolteremo la sua prima incisione discografica per la RCA avvenuta nel 1960 con musiche di Girolamo Frescobaldi, Domenico Scarlatti, Domenico Cimarosa, Lennox Berkeley, Joaquin Rodrigo, Maurice Ravel e Albert Roussel.
September 2, 2015: The Art of Julian Bream

Wednesday evening I will be on air on Radio Voce della Speranza with the first episode of my new radio program dedicated to the guitar of the great Julian Bream: we will listen to his first recording for RCA in 1960 with music by Girolamo Frescobaldi, Scarlatti, Domenico Cimarosa, Lennox Berkeley, Joaquin Rodrigo, Maurice Ravel and Albert Roussel.

venerdì 28 agosto 2015

A Tango in the brothel by Rubén Andrés Costanzo second part

The end of the ‘800 Buenos Aires and Montevideo were the center of a small universe, its gravity attracts millions of desperate people, mostly from Europe. Because of a bad reception, a lot of them came back in a few months to the land of origin, others remained piled up in the suburbs. The majority of these immigrants were men. Scalabrini Ortiz said: The man of Buenos Aires is "a lonely man who waits ”8, and a man in these conditions needs female company. Prostitution in Buenos Aires and Montevideo, between the nineteenth and twentieth centuries 9, was certainly a profitable business because the immigrants’ leisure passed by the brothel.The birth of a myth. We start to write the history of tango beginning from the 20s, whose narratives of his early age, collected from various writers, give us a picture of a dirty world, stories that are not reflected in official documents (police and municipal archives, licensing brothels). Sure, it would be naive to believe you shall find documents on this, but this lack of official sources remains truthful to the testimonies of many men who saw musicians enliven the evenings with Tango in brothels.

Moreover, the majority of the narrators came from the upper class and was used to belong to humble neighborhoods just for fun, without knowing the daily and honesty life of those places. There is no doubt that between the nineteenth and twentieth century, the tango was in the brothels and around them. Some places were very ambiguous as the Academias in Montevideo, or Piringundines in Buenos Aires. Vicente Rossi in his famous book Cosas de negros10 argues that tango was born in an Academia known as San Felice in the suburbs of Montevideo. Beyond this categorical assertion, let's see what activities took place there. Today, the success of a disco is partly due to the presence of women, which is why we offer free entrance or discounts to the ladies, in Buenos Aires and Montevideo in the early twentieth century, there were few women who provide free entrance to dance nights, so the Academias’ managers recriuted women dancers and charged a modest sum for each song danced to the men, so that for "men only" lower-class rioplatense fun was guaranteed. All scholars agree that people went in these placet only for dancing and not for having sex, but what the dancers did after the dance’s session was never recorded. I do not know how true it is, but the books tell us that women were chosen based on skill in dance and not for beauty, we know that the dancers wore short skirts to facilitate movements during the dance, this permitted to discover the ankles (eroticism of the past), we must add that if a woman resorted to this kind of work was by necessity and not for the pleasure of artistic dance.

Nonostante non siano stati citati in tanghi famosi, erano molti i bordelli che offrivano serate di ballo con musicisti di alto calibro.

During this period the men of the upper class of Buenos Aires was not without fun, and two entertainment venues have been made famous by the words of a tango, “Vos fuiste el rey del bailongo en lo de Laura y la Vasca…”11 different customers tell us that these two ladies ran brothels, dancing evenings for men of high social class as a prelude to sexual encounters. Musicians of the level of Rosendo Mendizabal, (author of the tango El Entrerriano) have played in these places.Although they have not been mentioned in famous tangos, there were many brothels which offered dancing with high caliber musicians.

At the beginning of the twentieth century, in the Boca district, became famous intersection (esquina) between Suarez and Necochea streets thanks to the many local that performed a good standard tango, despite being only local music was not hard to find in the streets around many brothels, we better not forget that this is the neighborhood of the port of Buenos Aires12. Among the places which we define as "ambiguous" for the mix of music, sex and crime, we can also mention: Raduni della Recoleta13 on the north, the premises of the park in Palermo, the curtains in Retiro; in the west Los Corrales (where the cowboys gathered the animals for slaughter). Many see the dirty origins of the tango in a few songs with titles in both directions. Remember that the primary tango was a dance and music were created based on this need, despite this some of these songs were funny or risque tunes, while other titles were ambiguously, for example: Dame la lata (Give me token - in reference to the token that the client gave to a prostitute as proof of payment) by Juan Pérez, La Clavada (the key) by Zambonini, La Cara de la Luna (written on the score so you sense La Concha de la Lora - The p ... of the prostitute) by Manuel Campoamor, the list could go on but as examples I think are sufficient. These arguments certainly show us the passage of the tango in the environment of commercial sex, but not that this is the place of his birth.

First part
to be continued

8 Raul Scalabrini Ortiz. L’uomo che è solo e attende, Bompiani. Milano. 1934
9 Albert Londres, El Camino de Buenso Aires (La trata de blancas) Editorial Excelcior. Bs.As. s/data ( pubblicato nei attorno il 1928)
Yvette Trochon, Las rutas de Eros La trata de blancas en el Atlàntico sur. Argentina, Brsil Uruguay (1880-1932). Editorial Taurus. Montevideo 2006
10 Vicente Rossi, Cosas de Negros. Libreria Hachette. Buenos Aires 1958 (la prima edizione e del 1926)
11 Trad.: “Tu sei stato il re del ballo da Laura e la Basca”, Parole tratte del tango: No aflojès (Non mollare), scritto da Mario Battistela con la musica di Pedro Maffia e Sebastian Piana. Suonato per prima volta dall’orchestra di Pedro Maffia nel 1934, ma reso memorabile dalla voce del canatante Angel Vargas con l’orchestra di Angel D’Agostino in una regsitrazione del 1940.
12 Luis Adolfo Sierra. Historia de la orquesta tìpica. Buenos Aires. A. Peña Lillo Editor srl. 1976. Vedere pagina 34
13 Josè Antonio Wilde, Buenos Aires desde setenta años atràs (1810-1880). Eudeba. Bs. As. 1960. Vedere pagina 251

giovedì 27 agosto 2015

VI Festival Internazionale Corde D'Autunno

Stiamo lavorando per il prossimo Festival, abbiamo aggiornato il con:

Concerti di presentazione del Festival

Concerti organizzati da: Le Mani Sapienti - Fondazione Antonio Carlo Monzino
Tutti i concerti avranno inizio alle 15:30 nella sala delle Merlate del Castello Sforzesco

Primi due concerti del Festival 

in aggiornamento
domenica 25 ottobre 2015 ore 18:00
Concerto Ricardo Gallen

Prima esecuzione italiana della  4th Sonata del Pensador (dedicated to Ricardo Gallen) di Leo Brouwer

domenica 8 novembre 2015 ore 18:00
Concerto duo Massimo Lonardi & Lorenzo Micheli


Laboratori d'orchestra di chitarre

Offerte per scuole medie ad indirizzo musicale e licei musicali. 
per informazioni contattare

Il Festival Corde d'Autunno offre laboratori d'orchestra di chitarra a studenti di livello differenti, provenienti da molteplici realtà didattiche.
Gli studenti avranno l’opportunità di fruire di lezioni e consigli da un gruppo di docenti specializzati, e potranno condividere la passione per la musica con loro coetanei

ciascuno studente potrà usufruire di:
  • Quattro prove orchestrali
  • Lezioni di tecnica chitarristica
  • Possibilità di partecipazione come uditore a 3 master-class 
  • Partecipazione al concerto finale 
  • Possibilità di essere selezionati (sia come solisti che in formazioni cameristiche) per i concerti di presentazione del Festival Corde d’Autunno 2016

Per informazioni su concerti, masterclass, orchestra di chitarre e mostra di liuteria visitare il sito 

Corso di perfezionamento musica da camera con chitarra
aperto a tutte le formazioni cameristiche chitarristiche o con chitarra 

  1. Quattro sessioni di prove (ottobre 2015 - febbraio 2016)
  2. Approfodimenti relativi al repertorio
  3. Partecipazione come allievi effettivi a due master-class degli artisti  invitati al Festival
  4. Partecipazione al concerto finale
  5. Possibilità di essere selezionati (sia come solisti che in formazioni cameristiche) per i concerti di presentazione del Festival Corde d’Autunno 2016 che si svolgeranno in importanti sedi concertistiche.
  6. Registrazione di un video da usare a scopi promozionali dell'ensemble
Il corso gode del riconoscimento ministeriale (MIUR) ai fini della formazione dei Docenti
per informazioni sui costi scrivere a

mercoledì 26 agosto 2015

Intervista con Mauro Tonolli (Oltre Duo) con Andrea Aguzzi

Ciao Mauro, come va? E' un po' che non ci sentiamo, ma vedo che non ti fermi mai, parlaci un po' di questo tuo nuovo progetto Oltre Duo...

Ciao Andrea, è un piacere risentirti!. Oltre Duo ha una formazione base, chitarra classica e vibrafono; per alcuni brani più solistici suoniamo in duo chitarra-cajon.
Oltre Duo però è nato con la volontà di allargarsi “oltre” il duo e di collaborare, a seconda del concerto, con altri musicisti.
Cerchiamo di suonare con strumenti che ci possono accompagnare o con solisti e cantanti, dei più diversi generi, è uno stimolo continuo.

Come hai conosciuto Alessandro Bianchini?

Alessandro è un bravissimo percussionista e soprattutto vibrafonista, abbiamo suonato insieme per la prima volta un anno fa e ci siamo trovati bene, da lì è partita l'idea di Oltre Duo.

L'accostamento chitarra classica e vibrafono non è una cosa così semplice e scontata, ci sono dei riferimenti nel jazz ma con chitarre diverse, come avete risolto i problemi legati alle differenze di volumi di suono? Amplifichi la tua chitarra classica?

La diversità dei volumi dei due strumenti mi ha obbligato ad una ricerca su un amplificazione che non snaturasse il suono della chitarra. Molti optano per uno strumento già amplificato (ce ne sono di ottimi) ma il suono non è lo stesso, questo si sente soprattutto in duo e per il repertorio classico. Ho la fortuna di avere una bellissima Philip Woodfield del 2011 e l'amplifico con due microfoni Neumann TML 102 a condensatore con diaframma largo, anche dal vivo. Uso un preamplificatore Audient. Sicuramente non è il metodo più veloce e semplice ma è molto naturale. 

Quale repertorio suonate principalmente? Ho visto nel vostro canale youtube che suonate musiche di Heitor Villa Lobos, Joao Pernambuco, Celso Machado e Astor Piazzolla, che pubblico pensate di voler raggiungere?

I video e audio che al momento si trovano sul nostro canale youtube e sul nostro sito fanno parte della prima sessione in studio di registrazione, successivamente abbiamo registrato musiche di Nelson Cavaquinho (“Luz Negra “ nella versione di Bollani), di Antonio C. Jobin, Jim Hall e Chick Corea. In autunno uscirà il nostro cd con tante collaborazioni.
Il repertorio è in continuo movimento, non ci siamo dati delle restrizioni, la musica che facciamo piace al pubblico.
L'elemento dell'improvvisazione che inseriamo anche in brani classici e la rivisitazione di qualche standard ci ha dato la possibilità di trovare date in ambienti dedicati alla musica jazz.

So che avete in programma una serie di eventi allargando la formazione al quintetto, quartetto e trio, ci vuoi parlare di questi eventi e di questi cambi di formazione? Cambieranno anche le musiche che suonerete?

Ogni volta che possiamo invitiamo uno o più musicisti o accettiamo collaborazioni esterne.
Questo modo di procedere è stimolante e modifica anche la musica che verrà proposta al concerto, qualche volta modifichiamo i brani che abbiamo in repertorio, altre volte li cambiamo.
In questi mesi abbiamo collaborato con Emilio Galante (flauto), Shanti K. Roat (voce), Stefano Bianchini (contrabbasso), Thomas Samonati (batteria). I prossimi concerti sono in trio quartetto e quintetto, con la voce vari brani di Antonio C. Jobin, con il flauto per esempio suoniamo più Piazzolla.

Un'ultima curiosità poi ti lascio alle tue chitarre .... la chitarra elettrica e la musica contemporanea ... pensi di riprenderle in mano?

La chitarra elettrica la suono ancora, anche quando suoniamo in quintetto con Oltre Duo.
La musica contemporanea per il momento l'ho lasciata un attimo da parte ma per il prossimo anno c'è l'intenzione di commissionare opere originali per Oltre Duo, chitarra e vibrafono.
Se qualche compositore ha voglia di sperimentare questa formazione noi siamo pronti ad inserirlo in questo progetto!

Ho visto che stai organizzando una rassegna musicale in Trentino, giusto?

Esattamente, si intitola “Rassegna concerti del Baldo” ed è la prima edizione. Per quest'anno abbiamo organizzato tre concerti ed una masterclass con Marco Pacassoni Trio, Mosaiko Ensemble e Oltre Duo in quintetto, nei comuni di Brentonico e Mori tra fine agosto e inizio settembre.
Anche se il mondo della musica negli ultimi anni sta soffrendo ci sono ancora istituzioni che credono nell'arte, devo ringraziare la Cassa Rurale di Mori, brentonico, Val di Gresta per il finanziamento e la fiducia.

martedì 25 agosto 2015

Oltre Duo (Mauro Tonolli guitar, Alessandro Bianchini percussions) playlist

Oltre Duo (Alessandro Bianchini e Mauro Tonolli) si forma nel 2014 con la volontà di esplorare sonorità e stili musicali differenti.
L'accostamento del vibrafono alla chitarra classica crea una formazione unica nel suo genere, la possibilità di spaziare dalla musica classica alla musica popolare fino al jazz permette una grande versatilità e varietà.
Si passa dal choro brasiliano ai raffinati tanghi argentini di Piazzolla, dai ritmi del Samba e Bossa Nova agli standard jazz; il tutto caratterizzato da un costante "beat" ritmico e da elementi improvvisativi.
Oltre duo è una formazione costantemente aperta alle collaborazioni e aggiunge spesso alla chitarra e al vibrafono altri strumenti o la voce.

lunedì 24 agosto 2015

Interview with Mauro Tonolli (Oltre Duo) by Andrea Aguzzi

Hello Mauro, how are you? It's a long time that we don’t have a talk but I have seen that your music never stops, tell us a bit about this new project Oltre Duo ..

Hello Andrea, it’s always a pleasure to talk to you!. Oltre Duo has a base formation, classical guitar and vibraphone; for a few more passages we play duo solo guitar -cajon.
But Oltre Duo was born with the desire to expand "beyond" the duo and to collaborate, depending on the concert we play, with other musicians.
We try to play with instruments that can accompany with soloists or singers of many different kinds, it is a continuous stimulus.

How did you meet Alessandro Bianchini?

Alessandro is a talented percussionist and vibraphonist especially, we played together for the first time a year ago and we enjoyed it,  so we started the idea of Oltre Duo.

Your combination between classical guitar and vibraphone is not something so simple and obvious, there are references in jazz but with different guitars, as you solved the problems associated with differences in the volumes of sound? Did you boost your classical guitar?

The diversity of the volumes between our instruments has forced me to search for an amplification that could not distort my guitar sound. Many people opt for an already amplified instrument (there are excellent ones) but the sound is not the same, you can feel it especially in duo and for the classical repertoire. I'm lucky to have a beautiful Philip Woodfield 2011 guitar, amplified with two Neumann microphones TML 102 large diaphragm condenser, also when I play live. I use an Audient preamplifier. It's not the fastest and simple solution but it is very natural.

Which repertoire do you played mostly? I saw in your youtube channel that you play music by Heitor Villa Lobos, Joao Pernambuco, Celso Machado and Astor Piazzolla, what kind of  audience do you hope to achieve?

The video and audio on our youtube channel and on our website are part of the first session in a recording studio, then we recorded music by Nelson Cavaquinho ("Luz Negra" in the version of Bollani), Antonio C. Jobin Jim Hall and Chick Corea. In autumn will be released on CD with our many partnerships.
The repertoire is constantly moving, we have no restrictions, our public enjoy  the music we play.The element of improvisation that we insert in classic scores and revisiting some standards have given us the opportunity to find dates in environments dedicated to jazz music.

I know you're planning a series of events extending your duo to quintet, quartet and trio, do you want to talk about these events and these lineup changes? They will also change the music that you play?

Whenever we can, we like to invite one or more musicians or accept external collaborations. This approach is challenging and it change the music to be proposed at the concert, sometimes we change the songs we have in the repertoire, and sometimes we change them.
In recent months we have worked with Emilio Galante (flute), Shanti K. Roat (voice), Stefano Bianchini (double bass), Thomas Samonati (drums). The next concerts are in trio quartet and quintet, with voice we will play several songs by Antonio C. Jobin, with the flute, for example, we play more Piazzolla.

One last question and then I'll leave you to your guitars .... electric guitar and contemporary music ... do you think you will play again?

I still play electric guitart, even when we play in a quintet with Oltre Duo.
I left contemporary music for the moment but by the next year the intention is to commission original works for Oltre Duo, guitar and vibraphone. If there is any composer who want to experience this formation we are ready to add his music in this project!

I saw that you are organizing a music festival in Trentino, am I right?

Exactly, it is entitled " Rassegna concerti del Baldo " and this is the first edition. For this year we have organized three concerts and a master class with Pacassoni Trio, Mosaiko Ensemble and Oltre Duo as a quintet, in Brentonico and Mori towns between late August and early September.
Although the music world in recent years is suffering there are still institutions that believe in art, I have to thank the Cassa Rusale di Mori, Brentonico, Val di Gresta for their trust and finance.

sabato 22 agosto 2015

A Tango in the brothel by Rubén Andrés Costanzo first part

“Que poco queda de una cosa cuando se explica”1

It is almost impossible to win a fight on equal terms against a myth because the myth is an idea and you can’t kill them, they live in the collective consciousness of the society and are passed down from generation to generation almost by osmosis and they hardly give us a glimpse of the truth that is hidden in the narrative, to obtain the truth we must get over the myth and see what lies beyond. But once explained the real part of the myth we run the risk of being left with nothing or little more of poetic in our hands.
Many stories about tango, from the early '900, are partly nostalgic inventions or stories of people of high social class that ignored or deliberately concealed part of the history of tango. A reverse process that also distorts the story happens whne we want to apply our values to events that occurred a century ago. For example, one hundred years ago it was agreed that two men were fighting a duel to settle a matter of honor, but it was unthinkable that a woman had the right to vote or take the knee-length skirt.

The majority of chronicles written in the late '800 and early '900, or gathered from interviews conducted in the 30s, question about the morality of the tango, describing it as a dance born in the brothels and bordellos of Rio de la Plata; others are talking about the tango as a dance born in the suburbs of Buenos Aires and Montevideo, the fusion of different rhythms, music and choreography. In Italy we find on the first position the book Il Tango2 by Horacio Salas, in the foreword the writer Ernesto Sabato wrote the categorical sentence "... the tango was born in brothels ..." (p. 9) later Salas said: "But the usual place the tango, from its genesis related to dance and its musical development, was the brothel. In the courtyards of the brothels, in the spacious waiting rooms and in addition to the main house, the prostitutes were in the habit of dancing with the customers "(p.85).

Opposed to the idea of the tango born in a brothel we found Mrs. Meri Lao, in her book Todo Tango3 - I recommend a careful reading of the chapter: "With the benefit of Inventango", where there is an analysis of numerous errors on the history of tango in the Italian publications - about the brothel the influential writer tells us: "No tango of those who, saying it on a Borgian way," along our life ", was created in the sphere of sex mercenary. The portraits of the bully-minded pimp dated mainly at the twenties and thirties. However, were overcome. Valid only for tourists "(p.23). Brothel no, brothel Yes. I do not think it is worth finding a middle way but a way to find an exit from this dilemma, and historical documents will help us.

It becomes spontaneously enter the brothel as the birthplace of a very sensual dance with a high level of eroticism. But what was the tango at the end of the nineteenth century? To be honest we did not have a clear idea of what it was, but there was not even the educational or philosophical need to explain it. In 1821 we find one of the first documents where the tango is represented not like a dance but as a place where people of African descent in Buenos Aires made dancing evenings for benefit 4 and only after this date the name is associated to a ball played in those places - "Tango de los morenos "," Tango de los negros "- even if they were still loose balls and not a couple. About 1870 Zarzuela’s companies who came from Spain led to the Rio de la Plata the genre known as Tango Andaluz which together with the Habanera landed in Buenos Aires with the sailors became two Central American fashionable dances, worn in the suburbs through the organ grinder .

To re-mix again the cards is the use of the word milonga. Jose Hernandez is the first in the epic poem El Gaucho Martín Fierro, to use the term "milonga" as a place for dancing5. It’s Ventura Lynch in 1883, that identify a dance of the suburbs as milonga, he also claims that the choreography of the milonga is an imitation of the grotesque candombe (or blacks tango) by the underworld of the suborb6. Until 1900 the terms milonga and tango identify the same dance. The first document that describes and names the tango as we know it dates back to 1897, the comedy Justicia Criolla by Ezequiel Soria7, describes the choreography of a tango danced in the courtyard of a house.From all this information we can say that the rioplatense tango is a hybrid product, born form the urban working class suburbs. But then, when did the brothels enter in the history of tango?

to be continued

1 Trad.: Che poco rimane di una cosa quando viene spiegata.(pag. 97) In: Wimpi (Arthur Gracia Nùñez), El Gusano loco. Editorial Freeland. Bs As 1978
2 Horacio Salas, Il tango. Ed. Garzanti. Milano. 1992. La prefazione dello Scrittore Ernesto Sabato, appartiene ad un libro dello stesso Sabato: Tango Discusion y clave. Ed. Losada. Bs. As. 1963
3 Meri Lao, Todo Tango Cronache di una lunga convivenza. Tascabili Bompianti. Milano 2004
4 Archivo General de la Naciòn, Legajo Sala X-32-10-1, citato da Enrique Horacio Pucccia, El Buenos Aires de Angel G. Villoldo (1860...1919) Edizione del autore. Bs. As. 1976 Alla pagina 76
5 La “milonga” viene citata indiversi brani del poema. Due citazioni significative sono: dal verso 1.139 fino al 1.142 (pag.150) e dal verso 1.921 fino al 1.932 (pag.177). Josè Hernàndez, El Gaucho Martìn Fierro. Ediciones Càtedra. Madrid 1991. Edizione a cura di Luis Sàinz de Medrano.
6 Ventura R. Lynch. Cancionero Bonaerense. (riestampa della prima edizione del1883) Buenos Aires. Imprenta de la Universidad. 1925
7 Irene Amuchastegui. El dìa en que el tango tuvo nombre. Suplemento Expectàculos, diario Clarìn. Buenos Arires 28 settembre 1997 pag. 8. Intervista a Josè Gobello vicepresidente dell’Academia Nacional del Tango dell’Argentina

venerdì 21 agosto 2015

giovedì 20 agosto 2015

"FORUM GITARRE WIEN 2015" Konzerte / 24. - 30. Aug



24. – 30. Aug.
Großer Ehrbarsaal, Mühlgasse 30, 1040 Wien

Musikhaus Georg Haid, Alserstrasse 36, 1090 Wien, 405 34 59oeticket: 01 96096
INFO /RESERVIERUNGEN: +43 (0)676 75 75 646


Mo. 24. 8.       Eröffnungskonzert:
19:30               Alecu         Ciapi
                    Margarita           Escarpa                 
Werke von Bach, Rodrigo, Barrios, Tedesco, Aguado, Sor, Debussy
                                                            Di.   25. 8.       Doppelkonzert:                 
19.30               Paul Galbraith
Duo Zsapka Flöte und Gitarre
Werke von Mozart, Bach, Ravel, Pujol, Doppler, Almeida

Mi.  26. 8.       Carlo Marchione                                          
19.30               Werke von Molitor, Rebay, Giuliani, Vassiliev

Do.  27. 8.       Andrea de Vitis                                               
19.30               Werke von Tedesco, Tansman, Rodrigo, Mertz, Tarrega       
                                            Fr.   28. 8.       Marcin Dylla                      
19.30               Werke von Ponce, Vasks, Diabelli, Tansmann, Sierra

Sa.  29. 8.        Alvaro  Pierri                         
19:30               Werke von Piazzolla, Gnatalli, Anido, Bogdanovic, Nobre
So. 30. 8.         FINALE  20. Internationaler Wettbewerb „FORUM GITARRE WIEN 2015“

Di.  25. 8.      Jure Cerkovnik                                                    
15:00             Werke von Sor, Barrios, Ponce, Cagali
Mi. 26. 8.        Doppelkonzert:
15:00             Bozhana Pavlova                   
Davide Tomasi 
                        Werke von Schubert, Bach, Henze, D´Angelo, Rodrigo, Sor, Scarlatti, Mertz
Mi. 27.8          Teilnehmerkonzert
Carlo Marchione:       Fernando Sor Fantasie Elegiaque: Höhepunkt der Rhetorik in dem Gitarrenrepertoire
Michael Mc Meeken:          Anatomy of a music edition: „How do you know you are playing what the composer wrote?“
Daniel Zucali:              Die Entwicklung der Konzertgitarre: Entwicklung, Materialien, Konstruktionstechniken
Thomas Offermann:  D‘Addario „Hybrid Carbon sets“ und „Half sets“, Planet Waves Zubehör

(Eintritt frei)

NOTEN:               Haus der Musik Trekel, Guitarissimo
INSTRUMENTE: Masaki Sakurai, Hans-Peter Bamberger, Armin & Mario Gropp, Bernhard Kresse, Claudio Lazcano, Alain Raifort, Stefan Rössler, Donatella Salvato, Sato Guitars, Rumen Todorov, Curt Claus Voigt, Daniel Zucali